The study of Greek sculpture in the twenty-first century

Proceedings of the American Philosophical Society

Volumn 149, Issue 1, 2005, Pages 63-70

  Ridgway, Brunilde Sismondo ^a  

^a NONE

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EID: 36749048475     PISSN: 0003049X     EISSN: None     Source Type: Conference Proceeding    
DOI: None     Document Type: Review

References (19)

1. On the Nashville building and the Athena, before the gilding, see W. F. Creighton, The Parthenon in Nashville, Athens of the South, rev. ed. (Nashville, 1991)
2. On the Pheidian Athena, see K. S. Lapatin, Chryselephantine Statuary in the Ancient Mediterranean World (Oxford, 2001), 63-79, figs. 149-65
3. It was, of course, of religious significance and was an expression of regional preferences. See B. S. Ridgway, Prayers in Stone. Greek Architectural Sculpture (c. 600-100 B.C.E.), Sather Classical Lectures 63 (Berkeley, 1999), for general comments, and 193-200 for discussion of the possible role of Pheidias in connection with the Parthenon
4. See, e.g., J. Isager, Pliny on Art and Society. The Elder Pliny's Chapters on the History of Art (London/New York, 1991)
5. and, with reference to the Renaissance, " Humanissima ars: Evaluation and Devaluation in Pliny, Vasari, and Baden," in Ancient Art and Its Historiography, ed. A. A. Donohue and M. D. Fullerton (Cambridge, 2003), 48-68. Many of the essays in this volume are pertinent to my own topic
6. See C. J. Eiseman and B. S. Ridgway, The Porticello Shipwreck: A Mediterranean Merchant Vessel of 415-385 B.C. The Nautical Archaeology Series no. 2 (College Station, Texas, 1987) on the ship, its cargo, and the evidence for dating its demise. A second bronze head, stolen from the same wreck, was returned to Italy by the Basel Museum in 1993. It should be clear from my comments that I cannot subscribe to Philippe de Montebello's lament that museum curators can no longer deal solely with "art qua art": "The Changing Landscape of Museums," Proceedings of the American Philosophical Society 147.3 (September 2003): 259-72, esp. 260
7. On the sociological meaning of ancient portraits, although still somewhat tied to the ancient sources and stylistic analysis, see P. Zanker, The Mask of Socrates, The Image of the Intellectual in Antiquity, trans. H. A. Shapiro, Sather Classical Lectures 59 (Berkeley, 1995). An important study of portraits on the evidence of inscribed statue bases is being carried out. by C. M. Keesling
8. For technical comments on the Riace Warriors see, most recently, C. C. Mattusch, "In Search of the Greek Bronze Original," in The Ancient Art of Emulation. Studies in Artistic Originality and Tradition from the Present to Classical Antiquity, ed. E. K. Gazda, Memoirs of the American Academy in Rome, suppl. vol. 1 (2002): 99-115, esp. 111-15
9. for additional bibliography and reference to different theories, see B. S. Ridgway, Hellenistic Sculpture III. The Styles of ca. 100-32 B.C. (Madison, 2002), 199-202, esp. nn. 32-39
10. C. de G. Vanderpool, "Serial twins: Riace B and some Roman Relatives," in From the Parts to the Whole 1 (Acta of the 13th International Bronze Congress held at Cambridge, Mass., May 29-June 1, 1996), ed. C. C. Mattusch et al. (2000): 106-16
11. Laokoon: see the various papers published in E. Décultot, J. Le Rider, F. Queyrel, eds., Le Laocoon: histoire et réception (Revue Germanique Internationale 19 [2003])
12. notably, on chronology, S. Settis, "La fortune du Laocoon," 269-301, esp. 271-77, with its distinction between stylistic dating and documentary dating. Additional references in Ridgway 2002 (supra, n. 6), 76-81
13. Sperlonga sculptures: e.g., B. S. Ridgway, "The Sperlonga Sculptures: The Current State of Research," in From Pergamon to Sperlonga: Sculpture and Context, ed. N. T. de Grummond and B. S. Ridgway (Berkeley/Los Angeles, 2000), 79-81
14. F. Queyrel, "Les couleurs du Laocoon," in Décultot et al., 2003 (supra, n. 8), 57-70, esp. 63-65
15. On the relation between text and image, see J. P. Small, The Parallel Worlds of Classical Art and Text (Cambridge, 2003)
16. Historiography: see the various papers in Donohue and Fullerton 2003 (supra, n. 4), esp. M. D. Fullerton, " 'Der Stil der Nachahmer': A Brief Historiography of Stylistic Retrospection," 92-117, with useful additional references. Of great importance are also two books by A. A. Donohue: Xoana and the Origins of Greek Sculpture, American Classical Studies 15 (1988)
17. and Early Greek Sculpture and the Problem of Description (Cambridge, forthcoming)
18. On the Roman copies and Kopienkritik, see E. K. Gazda, "Beyond Copying: Artistic Originality and Tradition," in Gazda 2002 (supra, n. 6), 1-24, esp. 5-17
19. M. B. Hollinshead, "Extending the Reach of Marble: Struts in Greek and Roman Sculpture," in Gazda 2002 (supra, n. 6), 117-52; the Venus/Mars group is illustrated on 129, fig. 6:6; the satyr is mentioned on the same page